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ANOTHER NOT REVIEW: A Physical (Handicap) Theater – at the Festival Future Composé and the Williams Syndrome Opening Piece

June 11, 2018
bradspurgeon

Auriane Vivien and Denis Taffanel in Si Ce N'est Toi.

Auriane Vivien and Denis Taffanel in Si Ce N’est Toi.

PARIS – If theater is about emotion, intellect and the physical world, then there is clearly a powerful formula to be harvested from the approach that is behind the festival called “Futur Composé” – running in several theaters and institutions around Paris from 8 June to 1 July – the opening play of which I attended on Friday at Le Carré du Temple. “Si Ce N’est Toi,” is a very personal piece by Marion Coutarel, inspired by her brother’s diagnosis in his 40s of Williams Syndrome. The festival and its association, were created 18 years ago – and this is its 10th edition, as it runs every other year – to allow an exchange between handicapped people (mostly autistic), and others who are not handicapped, and to bring them together on the stage and through other artistic events and activities – such as singing, writing, painting. The striking thing about Coutarel’s play was nicely put to words by a psychiatrist I spoke to afterwards: “In some ways, the people who are supposed to be handicapped look much more naturally alive in their role on the stage than those who are not.”

It was with a huge variety of emotions, on many different levels, that I watched this piece of 1 hour 20 minutes: On the one hand there was an education about an illness I had never heard of – Williams Syndrome – on another level was the actor on the stage before me who is afflicted with the illness, and on another was the actress, author and director whose brother inspired the show. But it truly did make me question the very nature of what it means to be “handicapped.” And in this way, the play is a challenging and worthwhile venture for the spectator. I left the theater – a 250-seat auditorium in the 3d arrondissement – feeling happily enlightened and uplifted about a part of our world that I knew so little about, and now will never see the same way again.

The play comes in the form of a sort of story-telling acted out by the three main characters, Coutarel, Auriane Vivien and Denis Taffanel. The latter is a dancer and choreographer, who plays the role of John Cyprian Phipps Williams, who was born 16 November 1922, a New Zealand cardiologist who discovered the syndrome in 1961, while he was still quite young. As part of the story, we learn also of the strange, eccentric life of this mysterious, multi-talented doctor who apparently disappeared for years and was presumed dead – until he made contact with the author of a book about the poet Janet Frame, asking that a relationship he had with the poet please not be mentioned in the book!

But the most intriguing performance of the story is that of Auriane Vivien, who is affected by the syndrome. And it is here where I was the most touched by my questions about what constitutes a handicap. Vivien, who has played the role several times over the last year elsewhere in France, was – as the psychiatrist noted – perfectly at home on the stage. In fact, had it not been for some of her physical characteristics matching those of the typical case of Williams Syndrome, it might have been impossible to know whether or not she was truly affected by this disease.

This was a theater of personal exploration, especially for Vivien and Coutarel, as the author wrote the piece in order to try to come to terms with her own brother’s illness. Williams Syndrome affects about 1 in 10,000 people, and is characterized by certain physical attributes – notably the shape of the face and head – but also often by problems with visual spatial tasks, and, unfortunately, frequent heart problems. People with this genetic syndrome often have some moderate intellectual deficiencies as well, but other things are above average, for instance, they often possess a high musicality, often having absolute pitch. It is often marked also by an outgoing, friendly personality; which is something that is really touching in the circumstances as well.

The play takes a form somewhere between a recounting of personal history, self-questioning, demonstrations of what it is to have the syndrome, and even occasionally feels like a university lecture on the topic. But it was highly choreographed, and much of the physical interest comes from the contortions and movements of Taffanel, whose physical traits might actually lend themselves to questioning by anyone who did not know it, as to whether or not he himself suffered from the syndrome! Ultimately, the play’s main interest for me was, in fact, this questioning that it made me do about what exactly is that thing that we like to call “normal.”

* Not Reviews: This is a format I use on this blog to write about the music I am listening to, the books I am reading, the shows or films or other things that I do that are often in the habit of being written about by critics – book critics, music critics, theater critics, cinema critics, etc. And my feeling has always been that I believe in Ernest Hemingway’s dictum about book critics and how fiction writers themselves should not be writing criticism of other writers, in the spirit of the phrase: “You can’t hunt with the hare and hunt with the hounds.” My idea is just to talk about the books, plays, films and music I listen to or see. Talk about the way it affected me, everything and anything it inspires, but not to place myself on any kind of judgmental pedestal as critics are supposed to do – or are at least notorious for doing.

A Not Theater Review (as a Q&A): James Thierrée and His One-Man (and Support Team) Show, Raoul

February 20, 2018
bradspurgeon

James Thierrée

James Thierrée

PARIS – I could have created some click-bait for those who do not know who James Thierrée is by adding in the headline of this blog post the words “grandson of Charlie Chaplin.”  But James Thierrée, who is the son of Chaplin’s daughter Victoria, made a name for himself long, long ago, and so it is debatable how much value the “Charlie Chaplin’s grandson” moniker still holds today. Thierrée, who grew up performing since he was a child in his parents’ circus, then trained all over the world (including at the Piccolo Teatro in Milan and the Harvard Theater School), and who is adept as a mime, dancer, acrobat, violinist, actor, director among other things, has clearly added several dimensions to the Chaplin identity that he inherited. Of course, the one thing he cannot really do anything about is that he looks almost a dead-ringer for his grandfather – especially the grey-haired version. This last week Thierrée has been putting on a show, called Raoul, at the 13éme Art theater in the place d’Italie in Paris, and Ornella Bonventre and I decided to check it out.

Charlie Chaplin

Charlie Chaplin

My not-reviews are meant to be blog posts about me going to a show, reading a book, listening to music, eating a meal, and talking about it as a spectator – no “critic” attached. But this time, I decided to explore a slightly different version, and give most of the words over to Ornella, who, as an Italian actress, theater director, playwright and circus artist, I knew had a much better sense of what James Thierrée’s show was all about and could do a better job of talking about it than I can.

So we spoke about it together, and I have decided to run a little Q&A from that talk as my “not review.” Oh, and by the way, just for the sake of context it is important to know that despite our leaving home on time to get to the show by its 20:30 start time, we arrived at least 15 minutes late due to the tragic accident of someone falling – or jumping? – onto the metro tracks on Line 6 at the Quai de la Gare station and causing us to lose nearly half an hour in getting out of the metro and finding a taxi and then having to wait to be taken to seats in the 900-seat theater. As a result of me being placed in a handicapped person’s seating area, my view of the show was not great (would the view have been better from a wheelchair?  If not, this is scandalous.), and we missed the beginning of the show, and therefore perhaps some vital information on the game-plan of the spectacle.

The Q & A With Ornella Bonventre Answering Brad Spurgeon on James Thierrée’s Raoul

Ornella Bonventre & Brad Spurgeon Clowning

Ornella Bonventre & Brad Spurgeon Clowning

Question to Ornella from Brad. You were telling me that you enjoyed some of the technical aspects of the show, like the puppets but also James Thierrée’s physical movements. Why?

Answer from Ornella. I enjoyed the entire show from a technical point of view. I was very, very surprised because I wasn’t expecting anything. I wasn’t expecting a comical show, I wasn’t expecting a mime show, I wasn’t expecting him to be doing Charlie Chaplin. I was just expecting something very good – and in fact it was very good. I enjoyed the techniques he used as a director, because the structure of the show was based on principles that I am trying to use as a theater director too. For example, the puppet theater technique, or the use of the lights, the use of the space, the different levels of height he used on the stage throughout.

And technically, yes, the quality of his physical movements was amazing as well. He is not just a mime, he is an acrobat and a dancer. It is clear that he studied many different techniques. It was multidisciplinary. And, in fact, this is the same tendency that I saw at the circus festival we went to a couple of weeks ago, the Festival Mondial du Cirque de Demain. Each artist is not just specialized in his own discipline but is now multidisciplinary.

And I think this is something that James Thierrée had to face as the grandchild of Charlie Chaplin. He cannot just repeat what Charlie Chaplin did. He has to be something else, and probably something more and different and unique in his own way.

Q. What about the mixing of the huge puppets he used occasionally as well, the use of the giant stage set, and trapeze-like things, etc.?

A. I loved that because everything was transformed. Each object had its own life and was transformed into something else. And that’s very magical. And it is always the goal in my theater to obtain this result as well. And they were doing it with very traditional techniques. The puppets were built in a very simple way. And they were moved by people, not with machines, so there was nothing extraordinarily technical, and the materials also were simple, poor materials – like papier maché, simple cloths, etc.

Q. You mentioned something to me also about how this show, and the other one we saw, with Julien Cottereau, both depended largely on the use of sound.

A. Yes. I loved the use of sound in this show, the use of the soundtracks and the noises. And I think that they were necessary because they were also covering the noises of all of the huge machines that were moving up and down on the stage, the things from the floor to the ceiling, and the huge puppets. So the soundtrack was necessary to cover these sounds so that the audience would not be distracted and removed from the spell of the show by the unintended noises. It was very well done.

Q. For me the biggest problem was that I was waiting for, or expecting, a kind of storyline that I couldn’t find. So it was difficult for me to hitch in to the narrative. Was that something you found difficult too?

James Thierrée aloft in Raoul

James Thierrée aloft in Raoul

A. Yes, there was no story…or possibly because we arrived late and we weren’t able to see the beginning of the show, and that might have helped to follow the story more. But even so, for me the story was: “Welcome to a magical world!” A world made of little things in which the objects have their own life, and the objects themselves were actors on the stage. Strange things were happening around this poor character who was reacting to what was happening around him. And he was very tender; he was the typical character of the clown, with the stupefaction, the wonderment about everything; every little thing became something extraordinary. This is the principle of the work that we saw. And it is something that I really adore – the magic of little things.

Q. That makes me think of the fact that I felt the theater was too big for the show! 900 seats!  I had the worst seat I ever had in a theater (for the maximum price of 45 euros), with two people right in front of me on the same level, and I could not see clearly the area where Thierrée performed most of the show. It was difficult for me to see the little things and small movements. So I felt I was missing a lot. How was your seat just beside me?

A. My vision was good. It is true that probably the theater was very, very big, but fortunately for Thierrée it was full. It was sold out. And I think that’s why it’s necessary to have a very big theater; in order to contain all of his fans, the whole audience that he brings. It’s true that perhaps this show can work better in a smaller theater, but the reason for such a big theater I think is simply to contain the audience he brings.

But, even so, I was able to follow the details. As I said before, every theater show is made of the details – the movements even of the eyes – and usually you are able to see those things even if you are far away from the stage. Because that’s it, this is theater. The quality is in the details, and even if you are not really able to see clearly the details they touch you in any case.

Q. What did you see that I did not see since I am not an expert on mime, on movement, on dance? Can you tell me what you saw in his skills, in his techniques, that was so exciting for you and that held your attention?

A. Perfection. I never saw such a high quality of movement in all the senses. His movements were so fluid, so organic and so true – above all organic and fluid and it had a high, high quality that I’ve never seen before.

Q. What kind of movements are you talking about in particular?

A. In general. The whole show is based on his movements. There is no wind on stage, for example, but it exists, a very strong wind blowing at 100 kph because you see his body that is acting as if the wind is there. So he is creating a world with his body, just with his body. He is acting as if the wind is there, so for me, the wind was there. I was believing in that.

Thierrée dancing

Thierrée dancing


Q. Some of the funniest, most successful parts were the simplest, most slapstick things, I felt. Like him pouring water into a cup that it is bottomless, and then when he tries to drink it, there is no water in the cup. It’s a gag. It’s an old joke. But for me it was a moment I could really relate to and identify with.

A. Me too. Welcome to the magical world of the little things. It’s amazing how he had such beautiful tricks and big machines that carry him up and around the stage, but what is working best are those little things. In fact, you asked me about the quality of his movements, and the quality of his actions, and I told you it is amazing. I never saw such perfection. Why? Because I always saw those tricks – the water, or the wind or the body acting in a certain way, mime stuff – because I grew up in circus, in theater, and to me this is my daily life. So I appreciated those little things because they were so well done, they were magical.

Q. So he did old gags in a fabulous way.

A. Yes.

Q. What about the advantage or disadvantage of being Charlie Chalplin’s grandson? I think that part of the reason the theater was full was because everyone knows this is Charlie Chaplin’s grandson. But also that can be a negative thing too because you are being compared to Charlie Chaplin, to your grandfather. How do you see this aspect of his identity?

A. I think it is already difficult for everyone to find their own identity. To find our identity is a battle. And so, I think that for him, as for all people who are the “son of,” “grandchild of” or the “daughters of” famous and loved personalities, it is very, very difficult. I think it is a weapon that can turn against you easily if you are not good enough to demonstrate to the audience that you are really unique and great in your own way. So at the beginning it can be something that brings an audience, but if you are not good enough this is also something that can destroy you forever. And I don’t think the theater was full because he is the grandchild of Charlie Chaplin, because he has been on the stage for many years. So probably in the beginning the theaters were full because he was the grandchild of Charlie Chaplin, but today if he wasn’t good enough the theater wouldn’t be full.

Q. Were there areas that disappointed you?

A. I don’t know if “disappointed” is the right word. But one flat point was the story. It is true. I don’t know if it was because we missed the beginning or not. Another thing, and I asked myself this: “Why are you not doing this guy??!” It was a moment when the house lights were turned on over the audience and he stared at us, and I thought, “My God, use this! Now you see us, and you are trying to interact with us. But do this for real. Come to us and use this other part of the space.” In fact, he did do that, but just one time. When he entered from the door and walked directly in front of us. But it was just one time, and it was so quick. Just a moment like that! (Ornella snaps her fingers.) So not disappointment, but…it could have been more.

And also, I think this show was all about teamwork, and I would have loved to see more of the other participants. As well as their names on the posters, etc., being more recognized for their contribution.

But the rhythm of the show was amazing. Because it was a very long show. And without a structured story. So it is difficult to keep an audience seated down like that for 1 hour and 40 minutes. So the rhythm was amazing.

And the meta-theater aspect was interesting too. To show the show being made was amazing.

Q. You mean when they were fake hiding the members of the cast and crew with screens as they came out to set up the props, pretending that they were not there, etc.? But much of the show was “meta” stuff. It is external appreciation of what was being done, as opposed to really entering into the character, no? How much were you involved personally in the character?

A. I can honestly say to you that I was moved. As I am moved every time that I work with Claudio Madia in Milan and he really becomes a child, and the tenderness, and the innocence comes out….  At that moment I am completely with the character and I am moved. Because the theme of the innocence of childhood is personally something that touches me a lot. Was I with the character? Yes.

Q. We are living in a world where anything is technically possible in film, on the internet, in YouTube, and here is James Thierrée’s show with traditional gags, the flesh-and-blood live performance of an individual, and nothing that you can see in the way of the technological achievements that even a knowledgeable home video editor can do. What place does a show like this have in today’s world where our senses have been numbed by anything being visually possible on YouTube?

A. I think, honestly, that shows like this, and not even just this kind in particular, but the theater in general has a very important place in our contemporary world. I really believe that it is the future of this world. Theater is a meeting. But for real it is a meeting. It is a meeting between the audience and the actors and it is a meeting between the daily life of the audience and the life of the show, of the stories of the show. It is a meeting between the audience and the audience. It is work that you do in a team. When you are working in a show you are not alone. Your show depends on other people. So theater is a meeting, and it is made by people for people. And it is the future. And its place in our contemporary world is very, very important. Wherever there are two people in the same spot that want to listen to each other, there is theater. It is up to theater today to save human relationships and humanity.

Another Not Review: Three One-Person Shows in Paris, a One Person Quest in Detroit, and a Couple of Readings

February 3, 2018
bradspurgeon

Julien Cottereau

Julien Cottereau

PARIS – At a recent party of a friend in Paris, I met a guy from Detroit who has lived in France for a couple of decades. We started talking about various personal projects, specifically film and theater. He had made a documentary film about a century of his family’s life in Detroit. His wife was playing in a one-woman show in Paris, the director of which also had his own one-person show. The man invited us to see first his wife’s show, then the director’s. Little did I realize that it was the beginning of a long string of attending one-person shows, readings, theatrical productions – and film – that would keep me musing for weeks on the meaning of one-person productions on stage, in film, with texts, without texts, the physical versus intellectual and emotional theatrical representation and other profound and less profound thoughts. Let me get to specifics:

The man we met at the party was Steve Faigenbaum, who has had a long and varied career in film and video, but whose recent documentary is his first full-length personal, big production. His wife is Yannick Rocher, a French actress, starring in “La Voix Humaine,” by Jean Cocteau, at the Théâtre de la Contrescarpe. The director of the play is Charles Gonzales, who is starring in his own one-man show in Paris, at the Théâtre de Poche in Montparnasse.

Camille Claudel

Camille Claudel


The idea of comparing these two linked shows was too enticing not to try. So it was that after Rocher’s show we then attended “Charles Gonzales Devient Camille Claudel“…and, as you may have realized, this might be called a one-woman show as well… or whatever. (Which set up more strands of musing.)

In between those two shows we saw Steve’s film, “Internal Combustion,” (called “City of Dreams” in France) a story based on his return after 25 years to his home city of Detroit, where he retraces his and his family’s past, but simultaneously tells the history of the city and especially its black and Jewish population. (And, through these, a certain history of the United States itself.) The documentary is in some ways a one-man show, since it focuses on Faigenbaum’s look at his own world where he grew up in Detroit; but it is obviously made thanks to a cast of hundreds, including the crew and the many interview subjects and people of Detroit, dead and alive.

Steve Faigenbaum from Internal Combustion

Steve Faigenbaum from Internal Combustion

As a grand finale to all of this, we went last Saturday night to the Théâtre des Mathurins to see another one-man show, “Imagine-toi,” of Julien Cottereau. One of the reasons we chose to attend this was to have a direct comparison to the other shows: Because it was a performance told entirely through the movements of the body, and not through spoken language. Having said that, it turned out that Cottereau depends hugely for his communicative effects with the audience on sound. But I’ll get back to that in a moment.

I now want to return to look a little at each of these shows in the order we saw them, and in the spirit of my Not-Reviews.*

Yannick Rocher at the Contrescarpe Takes the Neutral Approach to Cocteau

Yannick Rocher’s “La Voix Humaine,” written by Cocteau, and here directed by Charles Gonzales, was the first of the bunch for us. It was in the small, but very cool Théâtre de la Contrescarpe, off the place de la Contrascarpe (Hemingway called this “the cesspool of the Rue Mouffetard,” but it has changed since then, going somewhat upscale). The play is about a woman who has ended her relationship with a lover and is reminiscing with him on the telephone, in a call, or a series of calls. It must have been technically an original concept at the time Cocteau wrote it, to use the telephone as a device for a one-person show.

Yannick Rocher

Yannick Rocher


Well, it still stands up today, entirely. The first performance of “La Voix Humaine” was in February 1930, in Paris, at the Comedie Française, starring Berthe Bovy. One of the original aspects of Yannick Rocher’s production are the decision to portray the role in as neutral a manner as possible. Her voice remains mostly neutral throughout. It gives a modern sense of gravitas to the play that the original production does not have in the same way.

Jean Cocteau

Jean Cocteau

And that leads to the other bit of originality: The use of a recording of the voice of Berthe Bovy in the original production as a kind of backdrop, or dramatic ploy, which makes its “appearance” several times throughout. It’s an interesting concept, that forces the spectator to compare Rocher’s performance with that of Bovy’s. In other words, you have the lines being spoken by the creator of the role, and then you have the same lines being spoken by the actress in front of you, but in a completely different way. That is quite a courageous thing for any actor to dare to do, I would think, being compared simultaneously with the creator of the role. So kudos to Yannick Rocher.

Yannick, I learned later, has done the role elsewhere in recent years, including in the U.S., and she did not do the neutral approach – which fact I found interesting as well, as I thought it must be like trying different ways to sing and play a song I’ve been doing for years in a certain way, and just completely change it. Not easy.

And then we saw Faigenbaum’s Film about Detroit

The story behind Faigenbaum’s film “Internal Combustion,” is fascinating on its own: This is a film all about the city of Detroit and the life of its black and Jewish immigrant population. It is done entirely in English. But it was funded and produced entirely in France. As I indicated, this is a film that might in some ways also be called a one-man show, as Faigenbaum goes on a personal quest back to his hometown and relates his family life through his own words, and above all, those of other family members and local personalities he interviews.

Internal Combustion trailer
But the brilliance of this film is the way the director manages to go from the personal situation into the general one of the history of the city and the life of all of its inhabitants throughout the 20th Century. He charts the movement of the Jewish and black populations, as they move from neighborhood to neighborhood depending on the social developments. A previously Jewish neighborhood becomes a black neighborhood. Some neighborhoods then get wiped out for new projects, highways, modern life that leaves no trace of the old, of the past.

Through it all, is a path of integration – or not – and for me it was absorbing to see an historical presentation – along with the family’s point of view – of the race riots of the 1960s, which I was aware of as a child while visiting relatives on the other side of the border, in Windsor, Ontario, putting a lot of things into perspective for me on a personal level. But I felt the biggest success of Faigenbaum’s film was that fabulous marriage of the personal with the universal, along with Detroit’s story mirroring that of the U.S. as a whole.

And off we Went to the Théâtre de Poche and the Camille Claudel One-Person Show

After the experience of seeing the one-woman show – although I’m not sure that’s the right term for a play with just one actor or actress – we were curious to see how the director, Charles Gonzales, would act and direct himself in a one-woman show starring himself, a man. For I think in some ways it has to be called a one woman show, his “Charles Gonzales Devient Camille Claudel.” Yes, it is a man performing the role of the lover of the sculptor Auguste Rodin, and sister to the writer Paul Claudel. But Gonzales is clearly trying to live in the skin of a woman throughout.

Charles Gonzales

Charles Gonzales

Or maybe not so clearly. In any case, the story of Camille Claudel is one that has a particular resonance in France in a way that it does not elsewhere in the world. She feels in some ways like one of the great women heroes of the country, like Joan of Arc. And yet Camille Claudel’s story is not one of any sort of heroism that saves the republic. It is more some kind of tale with which the whole country identifies and feels pity and sorrow for. A sense of collective something!

A highly respected sculptress herself, the lover of Rodin ended up spending the last 30 years of her life in an asylum. And with a 19th Century twist to it, this 20th Century story is one suspected of having a grotesque lack of humanity attached to it on the part of her family – and society. Was she really crazy or just locked up for convenience?

The piece was written by Gonzales and has been performed in various different locations – he has become recognized as something of an expert in Camille Claudel. And as I understand it, he had special access granted to him by the Claudel family to letters and papers, from which he draws for the text.

Rodin

Rodin

Of course, the originality here is that it is a man playing the woman. On the other hand, I don’t know if it was my lack of adeptness in the French language – although I usually consider myself bilingual – but I could not really see anything in the show to indicate WHY a man is playing this role. I saw nothing in the text or stage actions to indicate the purpose. So I assume it is just the passion that Gonzales has for the Camille Claudel story that drove him to this. And it is clear that Gonzales comes to life through this story, and so carries the audience with him.

The Théâtre de Poche was packed, and with about 90 or 100 seats, that’s pretty good for a play that is running for several months a couple of nights a week.

And off we Went to the Théâtre des Mathurins to see Julien Cottereau in his one-man show

There were moments while I watched Julien Cottereau wow the spectators at the Theatre des Mathurins in his show “Imagine-toi,” that I had a feeling of watching one of the comic greats of our time – or any time. I wondered to myself, “What would the other ones, like Charlie Chaplin, or the Buster Keaton, or Mr. Bean or others who use their body to communicate as much – or more – as their words think of Cottereau?”

Julien Cottereau has a long and illustrious career in clowning and circus, including working at the Cirque du Soleil. He has also worked much in film and theater. This show, “Imagine-toi,” was actually first performed in 2006, and for it he was awarded France’s highest award in theater, a Molière. But it is the kind of show that cannot age. Full of visual gags and audience interaction, it remains as fresh today as if it was just created.

But the most important aspect to writing about it here is that where I say this was a show that has no text, no words, a show that depends wholly on visual gags, movement, it is in fact a thoroughly modern show that could not have been performed at the time of Vaudeville when the idea of a modern sound system did not exist. In fact, it could not have existed through most of the 20th century either, as the key to this show’s main effects is the small microphone attached to Julien Cottereau’s head, and into which he makes his noises.

Julien Cottereau in his show
These noises – sounds of bouncing balls, roaring animals, barking dogs, squeaking window cleaning cloths – are also occasionally treated or added to by a sound man at the back of the room, who appears to add reverb or volume and other effects, when needed. So it may be a visual show based on movement and visual gags, but without those popping, bursting, barking, roaring sounds we would just have a mime. Granted, for me this is a mime of a much more dynamic, modern style than the classic Marcel Marceau. Cottereau’s show is just uproariously funny. And I noted that it was enjoyed equally by children, adults and others.

Together, all of these stage productions really got me to thinking about the nature of living theater. What makes a stage production. The importance of movement. The importance of voice. The importance of sound. Emotion. Of text. And, in fact, as it turns out, since seeing these productions we attended in the last couple of days two other shows that were readings of text alone, one of which in a language we could not understand. Seeing a pure “reading” was a perfect counterpoint to provide us with a comparison to the classic stage production and show the utility of memorisation and stage action in holding an audience’s attention.

* Not Reviews: This is a format I use on this blog to write about the music I am listening to, the books I am reading, the shows or films or other things that I do that are often in the habit of being written about by critics – book critics, music critics, theater critics, cinema critics, etc. And my feeling has always been that I believe in Ernest Hemingway’s dictum about book critics and how fiction writers themselves should not be writing criticism of other writers, in the spirit of the phrase: “You can’t hunt with the hare and hunt with the hounds.” My idea is just to talk about the books, plays, films and music I listen to or see. Talk about the way it affected me, everything and anything it inspires, but not to place myself on any kind of judgmental pedestal as critics are supposed to do – or are at least notorious for doing.

Spoken Word Craziness and More, in Paris at a Couple of Open Mics

January 17, 2018
bradspurgeon

Paris Spoken Word

Paris Spoken Word

PARIS – It was time on Sunday night and Monday to visit the spoken word places in Paris again with Ornella Bonventre and our TAC Théâtre monologue routine. The only problem was that we could not find a spoken word event on Sunday night…until we realized that Paddy Sherlock’s fabulous new Paris Songwriters Club evening is also open to poetry and spoken word, as long as it is – like the music – original material. So we performed there with great pleasure, before trying out the Spoken Word Paris event at the Chat Noir for the first time….

At Paddy Sherlock’s event, we found a perfect stage and audience for spoken word, but I was a little disappointed that there were not more musicians, poets, spoken word artists or spectators present. Oh, it was a wonderful evening, and at maximum there might have been a dozen or more people. But Paddy himself put out a word on Facebook afterwards, trying to encourage more people to come for the next edition, or he risks losing the evening.
First at Paris Songwriters Club

My feeling at both of the evenings I have attended at the Tennessee Bar with Paddy was that this has the potential to be one of the best open mics in Paris, so I hope people discover it fast!

Ornella and Brad woman question

Ornella and Brad woman question

From the Tennessee to the Chat Noir and Spoken Word Paris

Although a few years ago I did try to sing a song at the Chat Noir bar’s Spoken Word Paris event on Monday night, there’s nothing like trying to do actual Spoken Word at this event, which is no doubt Paris’s most popular English-language spoken word event. So it was a natural place to try out Ornella’s monologue, with me providing the soundtrack on my guitar (and occasional vocals, and a few spoken asides).
Wayne at Paris Songwriters Club

It also proved to be as much fun as a spectator as it was as a performer. And in honor of this being a Spoken Word event, I decided (thanks also to forgetting to bring my phone or other camera) to paste together several excerpts from the evening in a 5-minute podcast. So listen to the patched together medley here and above of a few moments from Monday evening’s Spoken Word Paris event at the Chat Noir for a taste of the far out kind of thing you can expect to hear….

This new bit of activity in the spoken word open mics has given me a real feeling of refreshing the blog with something slightly new, but right in line with what it is all about. I hope you agree….

A Bit of Spoken Word from Paris Lit Up to the Osmoz Café near Montparnasse

January 11, 2018
bradspurgeon

Osmoz Café

Osmoz Café

PARIS – I sense a new movement on this blog toward a few uncharted territories in the way of Paris’s spoken word open mics…but also pushing the limits at the music open mics too. Is that a sentence? I mean the grammatical thing I just wrote, not sentence in terms of what lies before me. Anyway, to cut a long introduction short: Over the last week I have twice performed in a small excerpt of the monologue that Ornella Bonventre and I performed in Milan last month, and written about on this blog. But here, we have done it in Paris, first at the Paris Lit Up open mic of spoken word at the Cabaret Culture Rapide, and then at Sheldon Forrest’s open mic at the Osmoz Café, near Montparnasse.


Paris Lit Up presentation
Our first step was to translate a portion of the show from Italian to English. Then we rehearsed, Ornella – of TAC Teatro Italy and TAC Théâtre France) acting the role of the unfortunate woman of the piece, and me on the guitar providing soundtrack and a couple of acting moments. Then we went to the Paris Lit Up spoken word event and performed it for the first time, just an eight-minute segment of the hour-long show. Then we continued to work on the translation and to rehearse. Then we performed last night at the Osmoz. The plan is to continue like this, finding new open stages that cater to spoken word, but also finding the music open mics that “allow” spoken word, poetry, etc. A fabulous adventure.
Paris Lit Up reading

While I have attended and written before about the Paris Lit Up evening – which has not changed, by the way, and remains an excellent evening – I had never attended Sheldon’s open mic at the Osmoz bar, near Montparnasse. But when I prepared to go, I was pretty sure it would be like Sheldon’s fabulous long-standing

Osmoz open mic

Osmoz open mic

open mic at the Swan Bar (now closed down), and I was right. But actually, it was even better in the sense that the atmosphere at the Osmoz Café open mic feels much freer, anything-goes, compared to the often slightly uptight feeling that the Swan Bar could give….


Another Paris Lit Up Reading
It was his usual deal of Sheldon playing piano, and singers taking the mic to sing their favorite pop standards. Sheldon was joined by a violin player as well, by the way. And at the end of the evening, long after Ornella and I had done our act, Sheldon invited me up to play some songs with my guitar, if I wanted to. Naturally, I wanted! It was a great way to close the evening for me, and especially since I had not been playing music in front of an audience in that way for a while….
Singer at Osmoz Café open mic

Stay tuned for the further adventures in Spoken-Word-Land….

Not Theater Review: “Oh the Silly French!” Another Take, in “Oh My God – She’s Parisian” – This Time by Someone French

December 19, 2017
bradspurgeon

Oh My God She's Parisian

Oh My God She’s Parisian

PARIS – I have long despised the seemingly never-ending newspaper articles, books and other media devoted to the phenomenon of what I call: “Oh, the silly French!!!” I’m referring to those endless oeuvres written or played out to show how silly the French are from a foreigner’s point of view: The baguette, beret, Eiffel Tower kind of cliché in which the author feeds the audience with its own preconceptions about life in France. Write or expose something serious about real life and social problems here, multicultural happenings in the banlieue, or even just an everyday true life story in Paris or the provinces and you are not likely to find an audience for it in North America or Britain, or many other countries that know so much about the silly French to realize that only the clichés perceived by the casual tourist can possibly be true. So it was with mixed feelings that I decided to attend a one-woman stand-up comedy-cum-monologue show in Paris called: “Oh My God – She’s Parisian!” written and starring Julie Collas, at the Theatre Bo Saint-Martin. I had been prodded to go, but what really made me swallow my pride and forget what I was sure would be just another take on “Oh the silly French,” was that Julie Collas is herself French, and the show is performed in English.

In fact, another reason was that I did a little research and found that behind the show is a very interesting backstory of the kind that is very close to my own philosophy of life. So it is that I’ve decided to write about it in another of my series of “Not Reviews,” this time a “Not Theater Review.” (My not-reviews have now been done for books, films, music and theater. The idea behind this special sub-species of post on my blog is that thing that Hemingway once said about writers acting as book critics: You can’t run with the hares and hunt with the hounds. And I never wanted to pose as a critic anyway, so I decided to just write about these cultural things that interest me, from the point of view of just an everyday spectator going to a show, or reading a book – and how it struck me….)

The backstory I mention above is that Collas was working as a lawyer in a company in La Defense, just outside Paris – where I used to work too, by the way – and one day in 2015 she went out and had lunch with her sister. At the place they ate, they had a nice conversation with the son of the proprietor – I wonder if this was the Livio restaurant where I ate for many years when working in Neuilly… – when that very night, this proprietor’s son went to a concert at the Bataclan.

Yes, he was killed. And Collas was struck by a revelation of the kind I have – many of us have – been visited with: Life is too short to not do everything we always wanted to do, or at least to try to do it. She had been considered the life of her office by some people, and had been told by some that her personality was such that she belonged on the stage, not in a stodgy office. So just days after those terrorist attacks of November 2015, Collas decided to quit her job and try to write a book – about the silly Parisians. About life in Paris, that is, from a Parisian’s point of view, but mostly feeding into the preconceptions of the foreigner visitor.

She had plenty of experience being seen as a Parisian by foreigners, as she had moved to England with her parents as a child for some years, and then as an adult she had studied law in the U.S. and worked briefly in New York City. So she also had lots of different worlds with which to compare to Paris.

She wrote the book, and then she began thinking about doing a show based on the book. Meeting a theater woman with experience in directing clinched that, and so with her help and coaching, she put together the original version of the one-woman show.

The show has been on stage now at the Theatre Bo Saint-Martin since September, and it seems it is selling out on its twice-weekly schedule in this cute, 70-seat theater each week. When I went, it was quite full of English-speaking tourists, and I should point out that I discovered the show while at the Roissy Charles-de-Gualle airport and finding a flyer about it at the Tourism Office there. From a marketing point of view, it is a brilliant idea, the kind of thing I cannot believe was not thought of before (or maybe it was!): A Frenchwoman makes fun of Paris in English for English tourists. The Office du Tourism backs the show because they know there is a ready audience that wants to go to a show in English, as they cannot understand French, and the cherry on the cake is that the show is all about the world they are visiting, feeding into their “Oh the silly French” preconceptions. What an amazing scheme!

Trailer for Oh my God She’s Parisian

And so how was it? I felt a huge amount of respect for Collas, who clearly was made for the stage: But how do you get from being a lawyer in a “classic” job to filling a theater within two years! She filled every moment with body business, vocal business, movement all around the stage, minimal props, and endless jokes. The jokes did play into the “oh the silly French” scheme, of course, but it was difficult to not be able to see the truth to much of it – the Paris driving habits, eating habits, social habits, childcare and manias like drinking wine to unhealthy levels while claiming it is as healthy as water. I had to object to some of the jokes, though, like, “Really? Frenchmen don’t wash their hands?” I thought that old idea about the French not bathing had passed decades ago. And then there was the use of Line 1 of the Metro as the morning horror story of horror stories – while I know that my own line, the aptly named Line 13, is clearly the worst …but unknown to tourists…. But while I think I was more in an “Oh the silly French” analysis mode and didn’t laugh non-stop throughout the show, there were plenty of spectators rolling with laughter non-stop throughout. It was beautifully refreshing to hear. (And speaking of “hearing” … I was unable to figure out what her “real” accent was when speaking English, since she seemed to have three or four of them, depending on the character…and that was clearly part of the charm and formula!)

In the end, personally I think what I got most out of the show – and this is important – is that I was thoroughly inspired to continue my own quest to try to live life to the full and do everything I always wanted to without ever falling into the excuse of “I don’t have the time.” Think of the vistas of self-realization that we might all have if we just took the chance. It also touched me to think of this cultural phenomenon that is a direct result of the terrorist attacks of November 2015. And from that point of view, I have to say that the French are not so silly after all – judging by what has driven Julie Collas to recreate herself….

Watch out, though, the show runs Fridays and Saturdays until 30 December. So last chances. And be on time; the theatre has several shows per day, and the slot for Collas’s show begins precisely at 7 pm, and ends just after 8 pm. Oh, and I forgot to mention: If you are one of the “silly French,” you might enjoy this show too (providing you speak English)!

UPDATE 7 February 2018: I have just learned that this show has been extended to continue until at least 30 April 2018, and possibly until August. So there is still plenty of time to attend. So clearly my (easy) perception that it was a huge success is indeed the case.

Unfinished Business Continues: From a Glam Rock Roll to Light and Soundman, Music Jams and Colin Wilson Book Presentation at a Red Cross Event

December 12, 2017
bradspurgeon

Ornella Bonventre Show

Ornella Bonventre Show

MILAN – It was a crazy few days of a classic example of performing my unfinished business for my new company called Unfinished Business SAS, created last month and truly starting business next week. But I just had to write about this weekend in Milan, as a perfect example of how my business is now about doing all the different things I ever did or wanted to do in my life, but now, all at the same time! And so it went with me wearing my 41-year-0ld, green and orange sequinned circus costume while acting the role of a glam rocker from the 70s arriving in a special part of heaven – for women only – along with Ornella Bonventre of TAC Teatro at an art exhibition in Navigli on Friday; to a jam Saturday evening on the top floor of a condo to celebrate my birthday; to featuring in a conference to present the second edition of my Colin Wilson book after a 5-actor play presented at a Red Cross event, and taking a side route as the play’s sound and light man when it was discovered that the theater had not booked their person to work that night…. The whole followed by another brief jam at the Spazio Ligera before returning to Paris today…

My Colin Wilson video and Philosopher of Optimism link

The weekend was also supposed to include setting up the exhibition about peoples’ dreams – Acchiappa Sogni – that Unfinished Business helped TAC Teatro do a few months ago. It was supposed to be set up for the second time at a local public library, but there turned out to be a problem with scheduling. No problem. That can be done another day. I only mention it to talk about the diversity of this weekend in Milan.

Which was the most fun? That’s my point: It was all equally fun, sometimes nerve-wracking, as well as hugely gratifying. And all of it thanks to my association with TAC Teatro. Ornella Bonventre and I first started rehearsing the Friday night show in the TAC Teatro France space in Asnieres last week. At the time, I couldn’t quite believe it would turn into the wonderful event it did. By now, I can believe anything! The story of Ornella’s one-woman-show, called “Avete mai provato ad essere donne…,” is that of a place in heaven for women who have been beaten and eventually killed by their husbands. It is all about the low opinion people have of women – but all done in good humour, as in the section about how one woman was the fourth girl in a family of no boys, and the huge disappointment of the father….

Anyway. my role turned into that of an androgynous glam rock star from the 1970s – Bowie, Bolan, Glitter, etc. – finding himself in heaven, but not sure where to go. He ends up in this women’s part, and he is accepted there, and is invited to play his music as the various women tell their stories. The role just naturally wrote itself, and the final crowning touch was when I remembered I still had my glam circus costume from my days in the circus in 1976 and it still, somehow managed to fit me! It also turned out that I have a large number of cover songs from the 1970s or earlier, touching on subjects that just fit right in – “Father and Son,” “Cat’s Cradle,” “Just Like a Woman,” etc., as well as some of my own songs that fit in, like the sad one, “Memories,” that we closed the show with.

Ornella Show 2

Ornella Show 2


The show took place at an exhibition put on by the Circolo Metromondo association in a week of events linked to violence against women in this fabulous space on the canal in the Navigli area of Milan. The building is called the Spazio Ex-Fornace, and it was likely used in the past for making bricks, which were then loaded to boats in the canal.

Ornella Bonventre and Brad Spurgeon in Avete mai provato ad essere donne

The exhibition was a series of paintings and sculptures by the Italian artist, Roberta Stifano, who gave us a tour of the artworks in the exhibition, “Dal Tunnel…” and explained how they charted her experience in a relationship with a narcissist pervert, and the resulting road from infatuation to pain to torture to separation, and eventual slow recovery. It was clearly a good marriage between the exhibition and Ornella Bonventre’s monologue, entitled “Avete mai provato ad essere donne…”

And Then Came the Interlude of a Chef From Emilia Romagna

Saturday was supposed to be the setting up of the Acchiappa Sogni exhibit at a public library, and here I post again the video that I helped to make, and I edited, for that project many months ago. TAC Teatro and Unfinished Business plan to continue collaboration on this and other such projects in the future.

Acchiappa Sogni video

Saturday night, it was time for a break, and I was invited to a birthday party in the top floor of an apartment overlooking Milan, with the Duomo glowing visible in the distance. It was a private party just for me, for my very big birthday that actually happened on Pearl Harbour day. The main interest of this party was the invitation of a private chef from the great dining area of Italy, the Emilia Romagna. She prepared a fabulous lasagna typical of the region – making the sauce and the actual pasta herself. We had a roast porc and some fabulous fried potatoes that has herbs and spices that the cool would not reveal but said were a secret recipe of her grandmother. The dessert was a typical Italian tart, filled this time with fabulous fresh prunes.

After the meal, which by the way was watered by two different Italian wines from the chef’s region, I pulled out my guitar and two other guests pulled out some bongo drums, and we jammed for an hour or so. A better, more relaxing evening could not be had….

And from there, to the Binario 7 theater complex for the conference and play of TAC Teatro

The final evening in Milan was the very special one of my first witnessing of the TAC Teatro production of the play called Edipo Rap, written by Angelo Villa, an Italian psychologist who is also the author of many oeuvres. I have not only seen this play in preparation over the last year from auditions to rehearsals, but I have also helped to re-edit the trailer that contains the endorsement by Mogol, the great Italian songwriter. On Sunday, once again I watched a little bit of the rehearsal at TAC Teatro, and gave a little feedback to Ornella Bonventre, the director of the play. But I knew little else about it, and had never seen it performed from beginning to end.

So it was a moment of extraordinary panic when I found myself at the Teatro Binario 7 just an hour before the show and with Angelo Villa present, and I learned that I had been drafted in as the sound and lighting man! I at first refused, saying that not only can I not speak Italian, but I’ve never seen the play! It turned out that the Binary 7 had not included a technical guy to deal with the sound and light, and no one knew this until the moment the troupe arrived at the theater, just an hour and a half before the show.

Mogol endorses the Edipo Rap play by Anelo Villa

But Ornella and TAC and the four other actors of the play are the very definition of theatrical troupers. So I was drafted in to do whatever I could to help, while the other actors filled in on the lighting and sound responsibilities whenever they were not on stage! To my great amazement, I managed to perform the lighting and sound function without a hitch, and when it was not my responsibility, the actors did the same, again without a hitch. No audience member – and there were between 120 and 130 of them in a full-house of the small theater – was aware that anything but a professional, smooth production was underway and went from beginning to end without a hitch.

Such is life in the theatrical lane!

And once my duties as the light and sound man were finished I was then invited up onto the stage in my official role – more unfinished business – in presenting the second edition of my book, “Colin Wilson: Philosopher of Optimism,” to the audience as part of the conference after the play. The other invited guests were two emergency workers of the Red Cross, a psychiatrist and Angelo Villa. So I was among distinguished company.

Edipo Rap, in fact, is a play that deals with the problem of drugs, and ultimately, outsiders from society – which is why there was the connection with my Colin Wilson book – Wilson being a specialist on the theme of the Outsider – and the Red Cross had paid to host the play as part of a show of its new service that it offers to people in trouble with drugs and in need of emergency psychological assistance. This service is offered in Monza and Milan, and the space between.

Yes, it was strange for me to find myself performing all of these functions in Monza! For regular readers of this blog will know that I have been visiting Monza annually since 1998 or so to cover the Formula One race – until this year! And so I was back again, symbolically NOT covering the F1 but taking care of unfinished business, in the way of running a theater performance’s lighting and sound system while then appearing and a special guest author.

The play was fascinating even for someone who understands no Italian! The actors were an eclectic group that includes Ornella, who in addition to directing the play, had a small role that opens and closes the action; Cisky, a well-known Italian rap artist (and former prisoner who turned his life around with theater and music); and Jagorart Marco, who is a fantastic circus juggler trying to turn his life around into that of actor.

After the show came the conference, as I mentioned, with Ornella acting as my interpreter. I was pleased to learn that no one in the audience had heard of Colin Wilson – despite many of his books being translated into Italian – and so I was able to give a very short primer on who he was.

After the conference came a return to our local hangout, the Spazio Ligeria, in via Padova, where over a nice meal of pasta and other things, I took a moment to take part in the ongoing jam session that had been providing the soundtrack all evening.

The weekend left a very strong feeling of no unfinished business. I hope I can have many more like it….

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